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Post-Colonial Narrative and Language As Aesthetic Matter in Ciro Guerra’S Embrace of the Serpent

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Post-Colonial Narrative and Language As Aesthetic Matter in Ciro Guerra’S Embrace of the Serpent POST-COLONIAL NARRATIVE AND LANGUAGE AS AESTHETIC MATTER IN CIRO GUERRA’S EMBRACE OF THE SERPENT David Hoyos García* DOI: https://doi.org/10.33571/revistaluciernaga.v11n21a3 Summary The text analyzes the characteristics of colonial structures: race, ethnicity and loss of innocence, in the film by the Colombian director Ciro Guerra, Embrace of the Serpent (2015). For this, a dialogue is created with theoretical ideas from Fanon, Quijano, Shohat and Stam. This film is considered a critical postcolonial film. Keywords: cine; Ciro Guerra; audiovisual; narrative; postcolonialism. Received. November 12, 2018 Accepted. February 4, 2019 *David Hoyos García. Candidato a doctor en Estudios Hispánicos por la Universidad McGill en Montreal, Canadá. Se especializa en el área de estudios culturales y de performance, cultura digital, y la relación entre música, literatura y cine latinoamericanos centrados en la narratología subalterna, la producción cultural de mujeres y minorías. Actualmente realiza una investigación sobre cumbia, literatura y fronteras con una beca del Consejo de Investigación de Ciencias Sociales y Humanidades del Gobierno Federal de Canadá. Orcid: https://orcid.org/0000-0001-6310-7567; e-mail: [email protected] A NARRATIVA PÓS-COLONIAL E LINGUAGEM COMO MATÉRIA ESTÉTICA EM O ABRAÇO DA SERPENTE DE CIRO GUERRA David Hoyos García* DOI: https://doi.org/10.33571/revistaluciernaga.v11n21a3 Resumo O texto analisa as características das estruturas coloniais: raça e etnia, perda de inocência, no filme O Abraço da Cobra (2015) do diretor colombiano Ciro Guerra. Para isso, um diálogo será criado com idéias teóricas de Fanon, Quijano, Shohat e Stam e isso nos permitirá considerar este filme como um filme pós-colonial crítico. Palavras-chave: cinema; Ciro Guerra; audiovisual; narrativa; pós-colonialismo. Recebido. Novembro 12, 2018 Aceitado. Fevereiro 4, 2019 Revista Luciérnaga Comunicación. Facultad de Comunicación Audiovisual Politécnico Colombiano Jaime Isaza Cadavid & Facultad de Ciencias la Comunicación - Universidad Autónoma San Luis Potosí México. 11, Núm. 21. Medellín, Colombia. 2019. ISSN 2027-1557. ISSN-L 2027-1557 DOI: https://doi.org/10.33571/revistaluciernaga - Junio Vol. Enero Reconocimiento-NoComercial- CompartirIgual 60 LA NARRATIVA POSCOLONIAL Y EL LENGUAJE COMO MATERIA ESTÉTICA EN EL ABRAZO DE LA SERPIENTE DE CIRO GUERRA David Hoyos García* DOI: https://doi.org/10.33571/revistaluciernaga.v11n21a3 Resumen En el texto se analizan las características de las estructuras coloniales: raza, etnia y pérdida de inocencia, en la película El abrazo de la serpiente (2015) del director colombiano Ciro Guerra. Para esto, se creará un diálogo con ideas teóricas de Fanon, Quijano, Shohat y Stam. Se considera esta película como un film poscolonial crítico. Palabras clave: cine; Ciro Guerra; audiovisual; narrativa; poscolonialismo. Received. Noviembre 12, 2018 Febrero. February 4, 2019 Conflict of territory, races, history In the first scene of Embrace of the Serpent (2015), young Karamakate watches the river as if he had noticed that something that will change his life will arrive: a canoe that carries a sick white man called Theo and Manduca, his loyal and native tribesman traveling companion. Theo, gravely ill, arrived to Karamakate´s territory to ask him to come with him with the objective of looking for the yakruna, a flower that would cure Theo’s illness. From the beginning of the film, Colombian director Ciro Guerra (1981) exposes the main conflict of the film: Revista Luciérnaga Comunicación. Facultad de Comunicación Audiovisual Politécnico Colombiano Jaime Isaza Cadavid & Facultad de Ciencias la Comunicación - Universidad Autónoma San Luis Potosí México. 11, Núm. 21. Medellín, Colombia. 2019. ISSN 2027-1557. ISSN-L 2027-1557 DOI: https://doi.org/10.33571/revistaluciernaga - Junio Vol. Enero 61 Karamakate only has a kind of aversion for the white race who wiped out his tribe and a hard disapproval for a native who supports that white. This short scene is a good example of what, as spectators, we are to see all along the film: a conflict of territory, races, history, points of view argued by the director in the script and sustained by an ambitious narrative structure. As García Gil et al. state in their article about Colombian cinema in the first decades of the twentieth century: “Realidad, representación y dimensión axiológica en el cine. Una mirada a la cinematografía colombiana de la primera década del siglo XXI” “the main film subjects in Colombian cinematography industry were the country's armed and social conflict, kidnapping, forced displacement, drug trafficking, emigration, and other everyday situations such as neighborhood life, family relationships and passion for football. Those subjects addressed all the fictions and stated models from which traditional cinematographists didn’t escape from and repeated on and on because they were very successful in terms of economic profits. Even more, narco-cultural narrative was exported abroad and we can confirm that by the success of soap operas such as Narcos (2016). Subjects that explore topics related to the culture of regions of the country such as music and others intimate matters that do not represent violence, are not common in Colombian cinema. However, there is a little movement of directors who are approaching the atypical nuances of society and the Colombian reality are assumed in recent cinema from various genres and aesthetic approaches such as cinema, comedy, thriller, black and indigenous cinema, documentary, animation, literary adaptations as established by García Gil et al. Along with this new kind of exploration, critics consider that the aesthetic imposed by violence can be considered as a plus in order to make of Colombian cinema a reference and a tendency in the world as it speaks about the country’s reality. But, on the other hand it is valuated the technical and the narrative quality of new directors making a sort of balance in the visual, narrative and thematic quality as argued by Osorio. In that order of ideas, Ciro Guerra surges as a kind of anti-establishment director. He began his career in 2004 with the film La Sombra del Caminante (Wandering Shadows) and then in 2009 directed Los Viajes del Viento (The Wind Journeys). Embrace of the Serpent (2015) puts into dialogue the life of two ethnologists with a fictional discourse of the disappearance of indigenous people in the Colombian Amazon. Revista Luciérnaga Comunicación. Facultad de Comunicación Audiovisual Politécnico Colombiano Jaime Isaza Cadavid & Facultad de Ciencias la Comunicación - Universidad Autónoma San Luis Potosí México. 11, Núm. 21. Medellín, Colombia. 2019. ISSN 2027-1557. ISSN-L 2027-1557 DOI: https://doi.org/10.33571/revistaluciernaga - Junio Vol. Enero 62 1.Dialogue of Theodor Koch-Grunberg and Richard Evan Schultes The film is based on two books: the first is the journal Vom Roraima zum Orinoco (1911) by Theodor Koch-Grunberg (1872 – 1924), a German ethnologist and explorer who made a precious contribution to the study of the Indigenous peoples in South America, in particular the indigenous population of Amazon region. In that book there are photographs that revealed the existence of the disappeared tribes. The other ethnologist is Bostonian Richard Evan Schultes (1915 – 2001). He took pictures also from those communities and put them into a book called The Plants of the Gods: Their Sacred, Healing, and Hallucinogenic Powers (1979). The Amazon that Koch-Grunberg and Schulte met was not, of course, an innocent territory as it was described in several journals of conquers during the colonial Spanish and Portuguese period. Indeed, their achievements as ethnologists (and we can call them scientist as well) are even more remarkable if we consider the fact that, in many areas where they traveled, they found themselves living and working in the shadow of the cluster of atrocities committed for rubber workers Revista Luciérnaga Comunicación. Facultad de Comunicación Audiovisual Politécnico Colombiano Jaime Isaza Cadavid & Facultad de Ciencias la Comunicación - Universidad Autónoma San Luis Potosí México. 11, Núm. 21. Medellín, Colombia. 2019. ISSN 2027-1557. ISSN-L 2027-1557 DOI: https://doi.org/10.33571/revistaluciernaga - Junio Vol. Enero since the beginning of the twentieth century. 63 2. Sovereignty in territories called "savages" It should be noted that the spirit of the nations towards the end of the nineteenth century was to exercise sovereignty in territories called "savages" and their populations to control planetary natural resources. Thus, in 1895, the English poet Rudyard Kipling (1865-1936) wrote the poem The White Man's Burden, considered as the hymn of imperialism: Take up the White Man's burden Send forth the best ye breed - Go bind your sons to exile to serve your captive's need, To wait in heavy harness On fluttered folk, and wild - Your new-caught, sullen peoples, Half devil and half child. (1997) The poem is considered as an apology to the European colonization that disputes the world against the nascent powers of the United States and Japan. Together with Kiplin, the French poet Jules Ferry, evoked the "need to civilize the lower races" as argued by Michel Pierre on his book 1900/1910 Une Presque Belle Époque (23). This is mentioned to contextualize the problematic of the historical time proposed by director of the film. It is important to say that respecting this subject, many literary novels were written, for instance La Vorágine (1924) from Colombian writer José Eustacio Rivera (1888
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